In other news… Pixie Lott will appear on Strictly

Ok. So Tony isn't dead?

David Chase: bean spiller. Photograph: Getty Images

Sopranos creator David Chase has put the metaphorical cat among the pigeons. During a chat with film critic and writer Martha P Nochimson he gave the game away regarding the death/non-death of Tony Soprano during the final episode of the New Jersey gangster series - which arguably started the whole anti-hero trend.

Although it’s obvious what the big headline is, the piece also reveals some interesting titbits, such as Chase’s love of Edgar Allan Poe and the lyrics of Pink Floyd.

Here’s a snippet, followed by the final scene in question.

On very rare occasions Chase will say that once, long ago, he glimpsed something fleeting that he could never quite pin down, could never quite hold onto, and could never forget. It’s there in the lyrics of one of his favorite songs by Pink Floyd, “Comfortably Numb”: “When I was a child/I caught a fleeting glimpse/Out of the corner of my eye/I turned to look but it was gone/I cannot put my finger on it now/The child is grown/The dream is gone/I have become comfortably numb.” It’s also there in one of his favorite poems, by Edgar Allen Poe, “Dream Within a Dream,” which envisions the transitory quality of life that slips from his grasp: “O god can I not save/One from the pitiless wave?/Is all we see or seem but a dream within a dream?”

This is happening…

Lethal Bizzle and a host of other ‘urban’ artists are going to be quizzed on a special edition of Mastermind by John Humphrys as part of a hip-hop month special at the beeb. The above cutting is a brilliant example of British tabloids’ punning ability (I would have been tempted by Lethal Quizzle) and a lack of stomach to write about ‘urban’ acts in anything other than a mocking way.

First peek: Glue

This Is England (TV series) and A Long Way Down writer Jack Thorne’s latest project is being teased by Channel 4. Set in a rural community – whose young folk like to pop ecstasy tablets and muck about in barns – it stars one of the Rizzle Kicks and focuses on the death of a 14-year-old. And from these early glimpses it looks pretty impressive, like a teen-ready Broadchurch. Have a look for yourself…

"Nice work – you weirdo, conspiracy theorist, proggy time travellers!" Pulled Apart By Horses give us their top five Death Waltz releases

Our sporadic top five series has seen some pretty gruesome things. Oozing Wounds favourite trash records were scary, while Moon Duo’s top five psych LPs twisted many lemons, but Leeds rawk’n’riff merchants Pulled Apart By Horses have delivered their own fright-tinged coup de grâce. Frontman Tom Hudson has pulled out his favourite releases from horror soundtrack re-animators Death Waltz, taking in classic Carpenter scores and the work of Italian prog men Suspiria. Brace thyself. Pulled Apart By Horses’s new album Blood is out on 1 Sep.

5. Room 237 - Jonathan Snipes and William Hutson

This film/documentary was recommended to me by our drummer Lee. It collects a ton of conspiracy theories that are all related to The Shining and Stanley Kubrick. The score doesn’t have anything to do with the original film’s soundtrack (which is still cool too). Instead, it features music by Jonathan Snipes and William Hutson. It has the guitar licks of an upbeat 70’s prog Goblin score, the synth swells of Carpenter and the choral synth voice swells of Frizzi. It’s pretty strange to listen to knowing that this isn’t a long lost 70’s / 80’s horror soundtrack gem. In fact with this one, I think I actually like the soundtrack marginally more than the film. Nice work you weirdo, conspiracy theorist, proggy time travellers.

4. They Live - John Carpenter

“I’m here to kick ass and chew bubblegum....but I’m all out of gum.” They Live has more one liners than Arnold Schwarzenegger and another John Carpenter film where he gets to show off his musical ability. The soundtrack makes you feel like you are Rowdy Roddy Piper himself, strutting around the streets of LA; donning those chunky black sunglasses that enable you to see the aliens living among us. The plodding synth bass, guitar twangs, harmonicas and occasional finger clicks give the score a sleepy/bluesy American swagger. Mysterious yet sleazy.

3. Halloween III - John Carpenter

Halloween III is a weird film. Michael Myers isn’t even in the film. Instead, it features a completely different story to the Halloween series about a company that make masks for children to wear on that spooky day of the year. The only problem is that each mask is fitted with a micro chip that triggers on the 30th October, leaving every child wearing the mask to experience a rather grisly end. The synth-heavy score is constructed with arpeggiated pulses and analogue swells and Carpenters’ usual metronomic synth stabs hack into your mind as if he was trying to possess you himself.

2. Suspiria - Goblin

Italian prog maestros; Goblin, create a supernatural atmosphere with their breathy witch chants, twinkly lullaby xylophone, tinny scraped strings and that heart stopping tabla/talking drum hit. Every time you get completely freaked out, a crazy prog/funk wig out kicks in to shake off the cobwebs. When I hear this soundtrack I can see those classic red and blue Argento hues shining over everything. I went to see Suspsira at Hyde Park Picture House in Leeds a couple of years ago and hearing this score in stereo surround was mind blowing. Bella!

1. Zombie Flesh Eaters - Fabio Frizzi

This is one of my all time favourite films. I remember the first time I watched I was way too young and after I had seen it –through the gaps in my fingers with my hands covering my eyes – I was haunted by the score. The plodding kick drum, those vocal choir synth notes, the crude offbeat drum machine hi-hats, voodoo rhythms - all tie together, giving me flashbacks of shark biting zombies, heads popped open with grave stones, unexpected jugular throat attacks and, of course, that scene with the eyeball. The sleeve artwork by Graham Humphreys (who also created the Evil Dead and Nightmare On Elm Street posters) is gruesome and gorgeous.

Exclusive excerpt from Malcolm Gladwell's new medical drama

Malcolm Gladwell. Photograph: Tim Knox

Fox have picked up a medical drama from Tipping Point author Malcolm Gladwell. The Cure is described by Deadline as a “provocative, character-driven medical thriller about a young, impulsive African-American neurologist who decides to take the law into her own hands in the cause of tackling a deadly disease”. The Guide Daily was lucky enough to receive an excerpt from the pilot script, which we reprint in full here:

Maverick Neurologist: Actually, nurse, I think in this instance the best course of action might be to do nothing. Let me tell you a needlessly long anecdote. In 1965 a eight year-old from Ohio called Jimmy Robertson fell down a well, breaking his leg in the process. Most would have assumed that Jimmy was a goner - the well was miles away from the nearest conurbation, and anyway Jimmy was an orphan. But little Jimmy was born in September, giving him a physical advantage over the rest of his school year, who were predominately born in January, April and May. Also, Jimmy had also spent five hours a day practising the oboe, thus giving himself a larger lung capacity than even some boys twice his age. Jimmy knew that if he simply blew his way out…

Kate Bush's return: the Guardian reacts

“dunno, mate. Kat Bosh or something? Can’t see her amounting to much, if I’m being honest” Photograph: Ken McKay/REX

Kate Bush played her first show in three hundred millennia last night. Were you there? Me neither, but Harriet Gibsone’s entertaining live blog allowed me to lie convincingly to all my cool friends about attending. It featured Derren Brown, Boy George and lots of mentions of eggs, and is definitely worth a read.

That’s not the only Kate Bush coverage on the Guardian, oh no. Alexis Petridis had front row seats and wrote a glowing five-star review, a chunk of which I’ve lazily copied in below:

Over the course of nearly three hours, Kate Bush’s first gig for 35 years variously features dancers in lifejackets attacking the stage with axes and chainsaws; a giant machine that hovers above the auditorium, belching out dry ice and shining spotlights on the audience; giant paper aeroplanes; a surprisingly lengthy rumination on sausages, vast billowing sheets manipulated to represent waves, Bush’s 16-year-old son Bertie - clad as a 19th-century artist – telling a wooden mannequin to “piss off” and the singer herself being borne through the audience by dancers clad in costumes based on fish skeletons.

David Lynch does the ice bucket challenge his way

Just when we thought the whole ice bucket challenge thing was thoroughly played out, David Lynch adds a surrealist touch to proceedings, performing a ropey trumpet version of Over The Rainbow while being doused in iced coffee. And if that wasn’t enough, he then goes and nominates Vladimir bloody Putin.